Luna (modern Luni, Italy)

Julio-Claudian period (1st century CE)

Cavea Width: 45 meters
Orchestra Width: 20 meters

The Luna Theatre (possible odeum); Luni, Italy; cavea diameter 45 m with rectangular outer walls (36 x 61 m); penetrated by 4 irregular radial passageways with a concentric wall supporting a praecinctio; north-northeast facing; seating capacity unknown; orchestra diameter approximately 20 m surrounded by a passage (diameter at passage c.18 m); constructed during the Julio-Claudian period (1st century CE), based on coins from Tiberius and Caligula and roof tiles bearing the name of L. Titinius Glaucus Lucretianus, a notable during the time of Claudius and Nero; currently preserved only at foundation level with only a section of the semicircular cavea wall preserved to a height of 4 m, while the rest of the building remains as foundations. (Sear 168-169)

The Roman Theatre at Luna (modern Luni, Italy)

The Roman theatre of Luna is located in modern-day Luni (La Spezia, Liguria, Italy) at coordinates 44°03’53.7″N, 10°1’12.8″E, situated in the northeastern angle of the ancient town walls (Sear 168). Within the rectangular-planned city, the theatre was positioned near other key civic structures, including the Great Temple dedicated to Luna in the northwest and the forum with its Capitolium at the intersection of the cardo and decumanus (Direzione regionale Musei Liguria).

Historical Context

The Roman colony of Luna was founded in 177 BCE after Rome’s conquest of the Ligurian tribes. The theatre dates to the Julio-Claudian period (first half of the 1st century CE), as evidenced by coins from the reigns of Tiberius and Caligula and roof tiles bearing the name of L. Titinius Glaucus Lucretianus, a notable from the time of Claudius and Nero (Sear 168).

Luna’s prosperity derived from its port and control of the white marble quarries in the Apuan Alps. The theatre fell into disuse as the city declined, with archaeological evidence indicating abandonment of public spaces by the 6th century CE. Luna was finally abandoned when the episcopal see transferred to Sarzana in 1204 CE (Direzione regionale Musei Liguria).

Architectural Specifications

The following specifications are drawn from Frank Sear’s reference book, Roman Theatres: An Architectural Study (Oxford University Press, 2006), except where otherwise noted.

Location

• Orientation and positioning: The theatre faces north-northeast and is situated in the northeast angle of the town walls (Sear 168).
• Topographical details: The theatre was built into the urban landscape with rectangular outer walls measuring 36 x 61 meters (Sear 168).

Cavea (seating area)

• Diameter and estimated capacity: The cavea has a diameter of approximately 45 meters (Sear 168). While Sear does not provide a specific seating capacity, comparable theaters of this size could accommodate between 3,000-4,000 spectators.
• Seating divisions: Archaeological evidence indicates the presence of a concentric wall that may have supported a praecinctio (horizontal walkway) dividing the seating sections (Sear 168).
• Construction materials and techniques: The seating rested on an earth aggestus (raised platform), with some sections of the semicircular cavea wall preserved to a height of 4 meters (Sear 169).
• Support structures and access: The cavea was penetrated by four irregular radial passageways. The two central passageways were accessible from the south corridor or porticus, while the outer ones could be reached from porticoes at the sides of the cavea (Sear 168).

Orchestra (performance space between audience and stage)

• Dimensions, shape, and materials: The orchestra had a diameter of approximately 20 meters, with the diameter at the surrounding passage measuring about 18 meters (Sear 168).
• Special features and modifications: The orchestra was surrounded by a passage and contained slight remains of steps for bisellia (ceremonial seats for dignitaries) (Sear 168).

Pulpitum (stage)

• Dimensions and construction details: While specific dimensions are not provided by Sear, he notes the presence of a proscaenium with slight traces of three curved niches in the middle (Sear 168).
• Stage machinery: The theatre featured an aulaeum (curtain) system with a slot measuring 0.35 x 0.35 meters, with a depth of 0.35 meters. This slot contained eight square holes and terminated at the beginning of the east aditus maximus (side entrance). On the west side, it continued beyond the last hole, with the last section walled and roofed in tiles. At the end of this section, two holes in the side walls contained traces of wood (Sear 168).
• Connection to orchestra: At the end of the pulpitum, there were traces of two openings (width 0.90 meters) into the aulaeum slot, which were later walled up (Sear 168).

Scaenae Frons (decorative scene house front)

• Architectural order and design: The scaenae frons featured three shallow rectangular niches that did not project beyond the thickness of the wall (Sear 168).
• Doorways and stories: The three doorways were framed by columns supported by shallow bases projecting from the wall (Sear 168).
• Decorative elements: Limited information is available on specific decorative elements of the scaenae frons, but Sear references Fuchs’ “Untersuchungen” (pages 96-99) for details on decoration (Sear 169).

Ornamentation

• Materials and sculptural programs: The west analemma (retaining wall) was inlaid with marble slabs enclosing panels measuring 0.90 x 0.90 meters. Frova suggests these may have held wooden structures (Sear 168).
• Inscriptions: The south portico, built against the north wall, was decorated like the west analemma and featured three veneered marble bases. A finely decorated bronze architectural cornice was found near one of them (Sear 169).

Access and Circulation

• Entrances, exits, and vomitoria: The aditus maximi (main entrances) tapered toward the orchestra (Sear 168).
• Stairways and special areas: The four radial passageways that penetrated the cavea emerged in the middle of the seating area near the concentric wall that may have supported a praecinctio (Sear 168).

Current Status

The archaeological site of Luna, including the theatre, is currently managed by the Direzione regionale Musei Liguria as part of the National Archaeological Museum and Archaeological Zone of Luni (Direzione regionale Musei Liguria).

• Preservation condition: The theatre is preserved primarily at the foundation level, with only a section of the semicircular cavea wall preserved to a height of 4 meters (Sear 169). Like much of Luna, the theatre suffered from centuries of spoliation, with many of its marble elements being removed for reuse in later buildings.
• Conservation efforts: The archaeological area of Luna was inaugurated as a formal site in 1964, with reorganization in 1981 to improve the presentation of the material (Aboutliguria). The site continues to be maintained as an archaeological park, with many of the finds being housed in the adjacent Museo Archeologico Nazionale di Luni.
• Tourism and accessibility: The site is open to visitors, with the archaeological area including the visible remains of the theatre, forum, Great Temple, residential areas with mosaics and frescoes, and the Christian basilica (Direzione regionale Musei Liguria). The site is typically open from Thursday to Sunday, with extended hours during the summer months (That’s Liguria).

Renovation History

• Initial construction: Based on numismatic evidence and roof tile stamps, the initial construction of the theatre appears to date to the Julio-Claudian period (1st century CE), specifically during the time of Claudius and Nero (Sear 169).
• Modifications to the aulaeum system: The theatre shows evidence of modifications to its stage machinery, with the openings into the aulaeum slot being walled up at some point after the initial construction (Sear 168).
• Late antiquity changes: While not specifically documented for the theatre, the city of Luna experienced significant changes in late antiquity, including an earthquake in the 4th century CE that partially destroyed parts of the city (Direzione regionale Musei Liguria).
• Abandonment and spoliation: Like many ancient structures, the theatre likely experienced gradual spoliation during the post-Roman period. The general pattern at Luna was one of abandonment by the 6th century CE, with decorative marbles being removed from public buildings (Wikipedia).

Archaeological Research

• Early explorations (pre-19th century): Early interest in Luna’s ruins dates back to the Renaissance, when humanists from Sarzana, Antonio Ivani and Ippolito Medusei, supplied artifacts to Lorenzo the Magnificent for his collection in Florence (ScienceDirect).
• 19th century excavations: Formal archaeological excavations were initiated during the reign of King Carlo Alberto in 1837 (Princeton Encyclopedia). During the 19th century, the Fabbricotti family played a significant role in exploring the site and preserving finds, donating their collection to the Spezia Museo Civico and the Carrara Academy (Aboutliguria).
• Mid-20th century excavations: More systematic excavations began in the 1950s, with major campaigns in the 1970s led by Professor Antonio Frova of the University of Milan under the auspices of the Liguria Archaeological Office (ScienceDirect). Frova’s team uncovered much of the city’s layout, including the Forum, Capitolium, and the Theatre. His two-volume work “Scavi di Luni” (1973 and 1977) remains a fundamental reference on the site (Princeton Encyclopedia).
• Recent research: Since the 1990s, archaeologists from the University of Pisa, led by Professor Simonetta Menchelli, have conducted multiple excavation campaigns at Luna, with recent work (2014-2015) focusing on the southeastern sector of the city (Simonetta Menchelli website). In 2019, Menchelli’s team discovered a temple dating to the first century CE in the Porta Marina district (University of Pisa).
• Current management: The archaeological site is currently managed by the Direzione regionale Musei Liguria under Italy’s Ministry of Culture (Direzione regionale Musei Liguria).

Bibliography / Resources:

Banti, L. (1938). Luni. Florence.

Direzione regionale Musei Liguria. National Archaeological Museum and Archaeological Zone of Luni. Retrieved from https://museiliguria.cultura.gov.it/en/museo-archeologico-nazionale-e-zona-archeologica-di-luni

Frova, A. (1973, 1977). Scavi di Luni, I-II. Rome: L’Erma di Bretschneider.

Italia.it. The Archaeological Museum of Luni in Liguria. Retrieved from https://www.italia.it/en/liguria/la-spezia/archaeological-area-luni-italy

Menchelli, S., Sangriso, P., & Genovesi, S. (2015). Luni: le campagne 2014-2015 nel settore sud-orientale della città. In S. Lusuardi Siena & G. Le Grottaglie (Eds.), Dall’Appennino a Luni. Tra età romana e medioevo. Atti Giornata di Studio Berceto 2015. Centro Studi Lunensi, Quaderni 10.

Menchelli, S. (2019). Luni Research Project – University of Pisa. Retrieved from http://www.simonettamenchelli.it/index.php/projects/luni

Promis, C. (1857). Dell’antica città di Luni. Massa, 108.

Roman Ports. Luna. Retrieved from https://www.romanports.org/en/articles/ports-in-focus/811-luna-english.html

Sear, F. (2006). Roman Theatres: An Architectural Study. Oxford: Oxford University Press, 168-169.

University of Pisa. (2019). Luni: new details from the discovery of the temple in the Porta Marina district. Retrieved from https://www.unipi.it/index.php/english-news/item/17818-luni-new-details-from-the-discovery-of-the-temple-in-the-porta-marina-district